Roseville Secondary School Enugu

A project of Ikota Educational Foundation.

Third Term 2024/2025 ACADEMIC SESSION
SUBJECT : LITERATURE IN ENGLISH
CLASS: SS 1
EXPECTATIONS

1. COPY YOUR NOTE OR PRINT AND SPIRAL BIND

2. THREE GRADED ASSESSMENT OF 20 MARKS BEFORE CAT = 60%
3. CAT : 40%
4. NON-GRADED ASSESSMENT
5. PROJECT TO BE SUBMITTED IN WEEK 6 …………..
6. THREE GRADED ASSESSMENT OF 20 MARKS BEFORE EXAM= 60%
7. EXAMINATION 40%
NAME OF TEACHER: Isioma Obiora (Ms)
FOR ENQUIRIES: isiomaobiora4@gmail.com

SCHEME OF WORK

WEEK TOPIC
nd
1 Revision of 2 Term Examination Question Papers/Studies on Irony
2 “The Telephone Call” by Fleur Adcock - Content Analysis, language
and style/ Poetic Devices and themes
3 “Once upon a time” by Gabriel Okara- Content Analysis, language
and style ;Poetic Devices and Themes
4 “The Breast of the Sea” by Syl Cheney Coker (Background, Setting,
Theme , Language, Style, Poetic Devices)
5 CAT/PROJECT/MID TERM BREAK
6 New Tongue by Elizabeth Kamara - Content Analysis, Language and
Style; Poetic Devices and Themes.
7 Studies on Character Types: Round Characters, Flat Characters, Foil
etc.
Creative Writing (Poems and Short Stories)
8 Introduction to Once Upon an Elephant – Reading /Once Upon an Elephant
by Bosede Ademilua-Afolayan- Thematic Survey .
9 Once Upon an Elephant by Bosede Ademilua-Afolayan – Act by Act
Summary and Analysis; Themes and Characterization
10 Literary Appreciation: Drama 2/Poetry 2 (The Unseen)
Class Work (Timed Writing)
11 General Revision/ Examinations
LESSON ONE: STUDIES ON IRONY

Specific Objectives: By the end of the lesson, the students should be able to;
1. Define the term ‘irony’.
2. State the different types of irony.
3. Use scenarios to identify the types of irony.

Meaning of Irony
It is a form of expression where the intended meaning of words or actions is different from their literal meaning. Irony
is often used to convey humor, convey a deeper message, or create a sense of complexity in language. The Socratic
dialogues by Plato essentially represent Socrates as the philosophical equivalent of ‘Eiron’ which means
dissimulation, feigned ignorance. There are several types of irony:

1. Verbal Irony: In verbal irony, a speaker says something but means the opposite. It is characterized by the use of
words to convey a meaning that is different from, or opposite to, their literal meaning. Sarcasm is a common form of
verbal irony.
Example: Saying "Nice job!" when someone makes a mistake. Another example is ‘This is perfect! Absolutely
perfect!’ when someone destroys your property.
2. Situational Irony: Situational irony occurs when there is a contrast between what is expected to happen and what
actually happens. It often involves a twist of fate or an unexpected outcome.
Example: A fire station burning down. A busy market that is quiet.
3. Dramatic Irony: Dramatic irony occurs when the audience or reader knows something that the characters in the
story do not. This creates tension and often adds depth to the narrative.
Example: In a play, the audience knows that a character is planning a surprise party, but the other characters do not.
4. Socratic Irony: Socratic irony is a form of verbal irony where a person pretends ignorance to engage someone else
in a discussion or to expose their flaws in reasoning. It is often associated with the philosopher Socrates.
Example: Pretending not to know the answer to a question in order to prompt a deeper discussion.
5. Situational Irony of Setting: This type of irony involves a contrast between the expected and actual physical
setting of a story, creating an unexpected backdrop for the events that unfold.
Example: A peaceful, idyllic setting for a gruesome or violent event. A hospital where human organs are stolen and
sold.
6. Historical Irony: Historical irony occurs when the outcome of historical events is different from what was
expected or intended. This can involve unintended consequences or ironic twists in the course of history.
Example: The construction of the Titanic, deemed "unsinkable," leading to its tragic sinking on its maiden voyage.
The defeat of the strong and mighty giant, Goliath by a young boy, David.
7. Cosmic Irony (Irony of Fate): Cosmic irony, also known as irony of fate, is a type of irony in which it seems as
though a higher power is intentionally toying with human lives, leading to unexpected and often tragic outcomes.
Example: A philanthropist who was robbed and killed. A electrical engineer who gets electrocuted in the course of
performing his duty.

LESSON TWO: THE TELEPHONE CALL BY FLEUR ADCOCK (Content Analysis, language and style,
Poetic Devices and Themes)

Specific objectives: By the end of the lesson, the students should be able to:
1. Recite and explain the poem
2. Identify the language and style employed by the poet.
3. Write on the themes in the poem.

CONTENT ANALYSIS
The poem, titled "The Telephone Call," revolves around an unexpected phone call in which the poet persona is
informed that she has won a substantial prize from Universal Lotteries. The poem is satirical as it depicts how a
telephone call plays on human emotions. The voice coming from the lottery company was simply a mirage.

In stanza one, we are introduced to two speakers; a caller and the receiver, the latter being the poet persona. The caller
informed the poet persona that she had won ‘the top prize’ in universal lotteries and proceeded to ask the poet persona
what she would do with a millionaire pounds. As the poet persona reflects on this question, the caller sarcastically tells
her that it makes no difference provided she is a millionaire as seen in line 8 of stanza on ‘…once you’re a
millionaire…’.

In stanza two, the poet persona is asked how she feels about winning the top prize, the Ultra-super Global Special,
which is worth more than a million pounds. The poet persona expresses disbelief and describes a surreal sensation as
if the top of her head has "floated off" like a flying saucer.

As the conversation continues, the poet persona reveals physical reactions to the news, such as a dry throat, tingling
nose, and the possibility of sneezing or crying. The lottery representatives encourage the her to express her emotions,
emphasizing that it's not every day someone learns they will receive a million pounds. The poet persona is given a
moment to "have a little cry."

However, the tone shifts in stanza five, when the poet persona realizes she hasn't bought a lottery ticket for years.
Confused, she inquires about the company's name, and the lottery representatives explain that they operate a
retrospective Chances Module. This module involves purchasing files from various lotteries, inputting names into
their computer, and determining the lucky winner.

The poem concludes with the lottery representatives stating that there is no physical cheque or money involved;
instead, the prize is the experience itself. The poet persona is congratulated on having an exciting and memorable
experience, and the call abruptly ends with the line going dead.

Language and style

Fleur Adcock’s poem The Telephone is characterized by a conversational and reflective style. The poem mimics the
natural flow of speech, as if the speaker is recalling a personal memory or sharing a private moment with the reader.
This informal and intimate tone draws the reader into the speaker’s experience with a controlled yet emotionally
charged tone. Adcock also writes in free verse, avoiding a rigid rhyme scheme or meter. This flexibility allows the
poem to reflect the natural rhythms of thought and memory, reinforcing the introspective nature of the piece. The poet
employed enjambment effectively, letting thoughts spill over from one line to the next. This technique creates a sense
of continuity and movement, mirroring the way memories unfold gradually rather than in neat, structured segments.
The stanzas are made up of the following lines thus; 8-16-16-8. Some line breaks introduce slight pauses, enhancing
the contemplative tone of the poem.

The language is clear, precise, and deceptively simple, allowing the depth of emotion and meaning to emerge
naturally. Adcock employs direct, everyday language, making the poem accessible and relatable. She avoids elaborate
metaphors or highly decorative expressions, instead opting for a restrained, understated approach. This simplicity
enhances the realism of the poem, making the emotions and themes feel more immediate and personal. The diction is
carefully chosen to evoke a sense of nostalgia, longing, and quiet sorrow. Adcock uses clear and unembellished
diction, making the poem accessible and natural. The choice of everyday words mirrors real-life conversations,
reinforcing the poem’s theme of communication. There is no excessive use of figurative language, allowing the
emotion to come through in a subtle and restrained manner. For instance, the references to the telephone and listening
convey an ordinary yet deeply symbolic act.

Though the language is simple, Adcock uses precise imagery to evoke emotions and atmosphere. Subtle details about
the telephone and the act of listening contribute to the mood of the poem, enhancing its emotional impact. The poem
conveys deep emotions without being overly dramatic. The restrained tone and lack of overt sentimentality make the
feelings of longing and distance more poignant.

LESSON THREE: ONCE UPON A TIME BY GABRIEL OKARA (Content Analysis, language and style,
Poetic Devices and Themes)

Specific Objectives: By the end of the lesson, the students should be able to;

1. Recite and explain the poem.

2. Identify the language and style employed in the poem.
3. Write on the poetic devices and themes found in the poem.

Content Analysis
The poem begins with the classic opening of a fairy tale, "Once upon a time," which immediately invokes a sense of
nostalgia and a return to a simpler time. However, Okara overturns this expectation by comparing it with the realities
of the present. He describes how in the past, people were sincere and genuine in their interactions, expressing their
true feelings without fear or pretense.

In the first stanza, the speaker reflects on how people used to interact with sincerity and warmth in the past. He recalls
a time when people greeted each other with genuine smiles, but now, those smiles have become artificial and
insincere. The phrase "they used to laugh with their hearts and laugh with their eyes" suggests that people once
expressed joy and kindness wholeheartedly. However, the contrast introduced by "but now they only laugh with their
teeth" implies that people’s expressions of happiness are now forced or fake, merely a show without real emotion. In
the second stanza, the speaker continues to describe how human interactions have become insincere. He points out
that handshakes, which once symbolized genuine connection and warmth, have now lost their true meaning. The line
"They used to shake hands with their hearts" suggests that people once greeted each other with sincerity and kindness.
However, the contrast in "but that’s gone, now they only shake hands without hearts" highlights how greetings have
become empty gestures, lacking real emotion. The phrase "while their left hands search my empty pockets" suggests
that people now have ulterior motives. It implies a sense of exploitation, dishonesty, or self-interest, where people
pretend to be friendly while secretly trying to take advantage of others.

In the third stanza, the poet persona emphasizes the pretentious welcome that people give to visitors, when they say
‘… feel at home! ‘come again’….. which lacks genuine substance. The welcoming aura quickly disappears once the
visitor stays more than once. As seen in line 6 ‘… for then I find doors shut on me..’ In the fourth stanza, the speaker
describes how people’s expressions and emotions have become deceptive. He lists different types of smiles, implying
that people no longer express genuine emotions but instead wear different masks depending on the situation. The lines
"Now I have learned to wear many faces / like dresses" suggest that the speaker has adapted to this artificial world by
putting on different "faces" or false expressions, just as one changes clothes for different occasions. This metaphor
highlights the theme of pretense and loss of authenticity in human interactions. By specifying "homeface, officeface,
streetface, hostface, cocktailface, with all their conforming smiles like a fixed portrait smile", the poet shows how
people behave differently in various social settings, adjusting their behavior to fit expectations rather than being true
to themselves. The mention of a "fixed portrait smile" reinforces the idea that these smiles are forced and not genuine,
much like the artificial expressions in posed photographs.This stanza emphasizes the speaker’s disillusionment with
society’s lack of sincerity, reinforcing the poem’s themes of pretense and the loss of true human connection.

In the fifth stanza, the speaker expresses regret and self-awareness about how he has conformed to society’s culture of
insincerity. He acknowledges that he has learned to deceive others, just as others have deceived him. The line "I have
also learned to say, ‘Goodbye’ when I mean ‘Good-riddance’" highlights how his words no longer reflect his true
feelings. Instead of being honest, he has adopted the habit of saying things he does not mean, just to fit into societal
expectations. Similarly, "to say ‘Glad to meet you’ without being glad; and to say ‘It’s been nice talking to you’ after
being bored" reinforces the theme of pretense. The speaker admits that he has become just like the people he once
criticized—his emotions and expressions are now artificial. This stanza conveys a deep sense of regret and self-
alienation. The speaker recognizes that he has lost his authenticity and is trapped in a world where dishonesty and
social masks are the norm. This reflection builds up to the final plea in the poem, where he longs to return to a more
genuine state of being.

In the sixth and last stanza , the speaker expresses a deep yearning to unlearn the artificial behaviors he has adopted.
He turns to his son, symbolizing innocence and purity, and expresses a desire to regain his lost sincerity. The line "But
believe me, son, I want to be what I used to be when I was like you" reveals his nostalgia for a time when he was
genuine, untainted by societal expectations. By addressing his son, the speaker contrasts his current self—who has
learned to be insincere—with the purity of childhood, where emotions are expressed honestly. The seventh and final
stanza reinforces the speaker’s longing to return to a state of innocence. He asks his son to teach him how to laugh
genuinely again: "So show me, son, how to laugh; show me how I used to laugh and smile once upon a time when I
was like you."

This plea highlights the theme of lost innocence and the hope for redemption. The speaker recognizes that children
possess a natural ability to express true emotions, something he has lost over time. By asking his son for guidance, he
expresses his desire to unlearn the falsehoods he has acquired and return to a more sincere way of living. The
repetition of "once upon a time" in the last line ties back to the poem’s title, emphasizing the contrast between past
and present. It suggests that true sincerity and happiness are now distant memories, but the speaker hopes they can be
reclaimed.
Theme: Loss of Innocence and Authenticity

One of the major themes in Once Upon a Time by Gabriel Okara is the loss of innocence and authenticity due to
societal changes. The poem explores how people once engaged with sincerity but have now become pretentious and
superficial in their interactions.

The speaker recalls a time when smiles and handshakes were genuine as seen in line 2 of stanza one "They used to
laugh with their hearts and laugh with their eyes", but he laments that people now only "laugh with their teeth" and
"shake hands without hearts." This shift represents how society has moved away from honesty and warmth, replacing
them with insincerity and deception. More insights were given in the poem to expose the insincerity shown by people
in this modern days, such as in stanza three, where the poet persona wasn’t welcomed in people house’s. ‘…for then I
find doors shut on me’ As the poem progresses, the speaker acknowledges that he, too, has adopted these false
behaviors. He admits that he has learned to say things he does not mean, such as "Goodbye" when he means "Good-
riddance." This self-awareness highlights how societal expectations have forced him to change, losing the pure and
honest nature he once had.

By the end of the poem, the speaker longs to regain his lost innocence and asks his son to teach him how to "laugh
and smile" genuinely again. This reinforces the idea that childhood represents true authenticity, while adulthood often
brings pretense and conformity. Through this theme, Okara critiques how modern society pressures individuals to
adopt false expressions and insincere behaviors, leading to the loss of genuine human connections.

LESSON FOUR: THE BREAST OF THE SEA BY SYL CHENEY COKER (Background, Setting, Theme,
Language and Style, and Poetic Devices)

Specific Objectives: By the end of the lesson, the students should be able to;

1. Recite and explain the poem.

2. Identify the language and style employed in the poem.
3. Write on the poetic devices and themes found in the poem.

BACKGROUND OF THE POEM

The Breasts of the Sea" is a poem by Sierra Leonean poet and novelist Syl Cheney-Coker, featured in his 2008
collection Stone Child and Other Poems. The poem serves as a reflective meditation on the tumultuous history of the
20th century, addressing themes such as war, colonialism, environmental degradation, and the enduring scars of
slavery.

Sierra Leone's history is deeply intertwined with the transatlantic slave trade. The nation's capital, Freetown, was
established as a settlement for freed African slaves returning from the Americas and the Caribbean. This historical
backdrop is crucial to understanding the poem's references to the sea as both a witness and participant in human
suffering and migration. The sea facilitated the forced movement of enslaved Africans and later became the route for
their descendants' return, symbolizing a cycle of displacement and attempted reclamation. In the poem, Cheney-Coker
personifies the sea, portraying it as burdened by the weight of history and human atrocities. The opening lines depict
the sea groaning under the weight of a bloody century, filled with toxins and unable to give birth to new islands. This
imagery suggests environmental degradation and the loss of generative power due to human conflict and exploitation.
The poem references significant historical events and figures, including:

Noah's monologue: Alluding to the biblical flood narrative, symbolizing cataclysmic destruction and renewal.

The Middle Passage's cargoes: Evoking the transatlantic slave trade, where countless Africans were transported
across the sea under inhumane conditions.

Darwin's examination of the turtle's excrement: Possibly critiquing scientific endeavors that exploit nature without
regard for its sanctity.

The remains of the Titanic: Recalling the maritime disaster, symbolizing human hubris and tragedy.
The coelacanth's recapture: Referring to the rediscovery of a fish species thought extinct, perhaps symbolizing
unexpected survivals or the cyclical nature of history.

These references underscore the sea's role as a repository of human history, bearing witness to both monumental and
tragic events.

Sierra Leone's Civil War:

The poem also reflects on Sierra Leone's own internal conflicts, notably the civil war from 1991 to 2002. Cheney-
Coker portrays the nation as a violated woman, with imagery of a "broken back" and "shredded garment," symbolizing
the profound physical and psychological wounds inflicted upon the country and its people. This personification
emphasizes the deep scars left by violence and the challenges of healing and rebuilding. Beyond human conflict, the
poem addresses environmental issues, depicting the sea as "filled with toxins." This reflects concerns about pollution
and the exploitation of natural resources, highlighting the detrimental impact of human activities on the environment.
The sea's inability to "yield new islands" serves as a metaphor for stagnation and the loss of creative potential due to
environmental harm. In essence, "The Breasts of the Sea" intertwines Sierra Leone's historical experiences with
broader global events, using the sea as a central metaphor to explore themes of suffering, resilience, and the enduring
impact of history on both humanity and the natural world.

CONTENT ANALYSIS

In the first stanza of The Breasts of the Sea by Syl Cheney-Coker, the poet employs vivid imagery and personification
to depict the sea as a maternal figure burdened by the atrocities of the 20th century. The line "After our bloody
century, the sea will groan under its weight, somewhere between breasts and anus" suggests that the sea, much like a
mother, has endured the weight of human conflicts and suffering. The reference to "breasts and anus" symbolizes the
nurturing and waste-receiving aspects of the sea, highlighting its dual role as both life-giving and as a repository for
human detritus. The phrase "Filled with toxins, her belly will not yield new islands" indicates that due to pollution and
environmental degradation, the sea has lost its generative capacity, unable to produce new life or landforms. This
metaphor underscores the detrimental impact of human activities on the environment. Finally, the mention of "even
though the children of East Timor wish it so" alludes to the struggles of East Timor, a Southeast Asian nation that has
faced colonialism and conflict. The "children" symbolize the hope for renewal and creation, yet the polluted state of
the sea renders such aspirations unattainable, reflecting a broader commentary on the consequences of human
exploitation and violence.

In the second stanza, the poet reflects on the sea's capacity to bear witness to significant historical events. He
references moments such as "Noah's monologue," symbolizing the biblical flood; "the Middle Passage's cargoes,"
alluding to the transatlantic slave trade; "Darwin's examination of the turtle's shit," pointing to scientific explorations;
"the remains of the Titanic," recalling the maritime disaster; and "a diver's story about how the coelacanth was
recaptured," highlighting the rediscovery of a prehistoric fish once thought extinct. These references underscore the
sea's role as a repository of human history and its endurance through time. However, the poet suggests that the sea can
only hold so much before it cleanses itself of humanity's blights, indicating nature's resilience and the transient nature
of human endeavors.

In the last stanza, the poet continues to personify the sea, presenting it as both a nurturing and suffering entity that has
witnessed and absorbed the pain and struggles of humanity. The speaker addresses the sea directly, asking if it has the
power to heal the wounds of those who suffer, particularly those in Sierra Leone."Throbbing, the sea's breasts will
console some exiles, even those shut out of Australia, drifters on a tired moon…" The sea is described as throbbing
with life, symbolizing both physical and emotional nourishment. The "breasts" of the sea, in this case, refer to its
nurturing, motherly qualities. The sea "consoles some exiles," meaning it provides comfort or relief to those who are
displaced or forced to wander, such as refugees. The phrase "shut out of Australia" could refer to the exile or rejection
of certain people, potentially invoking the history of the forced migration of people to Australia or the broader
experience of being cast away. The "drifters on a tired moon" evokes images of people lost, drifting aimlessly,
perhaps on the sea or in life, unable to find stability or peace.

"...but Sierra Leone won't be worth a raped woman's cry, despite her broken back, this shredded garment, her hands
swimming like horrors of red corals…" Here, the poet shifts the tone to one of pain and lamentation. The sea, while it
may console some exiles, is unable to soothe the deep suffering of Sierra Leone. The "raped woman's cry" is a
powerful and haunting image of suffering, symbolizing the trauma and violence experienced by the country. Sierra
Leone has endured civil war and immense hardship, and the "broken back" and "shredded garment" symbolize the
nation’s physical and metaphorical destruction. The "hands swimming like horrors of red corals" suggests images of
hands, perhaps stained by blood or suffering, flailing helplessly, adding to the feeling of horror and helplessness that
the nation faces. "...But do you, O Sea, long-suffering mistress, have the balm to heal the wound of her children, hand
to foot the axe, alluvial river flowing into you?" The speaker turns directly to the sea, calling it a "long-suffering
mistress." This personification of the sea as a female figure suggests both power and endurance. The speaker questions
whether the sea has the "balm" or healing power to mend the wounds of Sierra Leone’s people, the "children" of the
land. The image of "hand to foot the axe" refers to violence and oppression that Sierra Leoneans have suffered. The
phrase "alluvial river flowing into you" alludes to the land’s connection to the sea, where rivers (symbolizing life and
movement) drain into it. However, this connection is marked by destruction and violence, highlighting the inability of
the sea to fully heal the scars of the land or its people.

LESSON SIX: NEW TONGUE BY ELIZABETH KAMARA - (Content Analysis, Language and Style Poetic
Devices and Themes)

Specific Objectives: By the end of the lesson, the students should be able to;

1. Recite and explain the poem.

2. Identify the language and style employed in the poem.
3. Write on the poetic devices and themes found in the poem.

CONTENT ANALYSIS

The opening stanza of the poem paints a vivid picture of cultural dislocation and identity transformation, likely in the
context of colonialism, modernization, or globalization. "They speak in a new tongue / And dance new dances" This
suggests a shift in language and culture—people have adopted foreign languages and customs, possibly due to
colonial influence or cultural assimilation. Speaking in a “new tongue” symbolizes a loss of indigenous language and
identity, while dancing “new dances” implies embracing foreign traditions or lifestyles.This poet reveals how deeply
this transformation has affected people—not just externally, but internally.."Minds battered into new modes and
shapes" Their thought patterns and worldviews have been forcibly reshaped, indicating a kind of psychological
colonization or cultural reprogramming. The poet acknowledges the fascination or seduction of the new culture—it
has been accepted, even loved. But the use of “impregnable chains” suggests a paradox: this new identity feels
permanent and inescapable, hinting at an underlying loss of freedom."Their eyes revel in the wonder of the new /
Embraced and bound to hearts with impregnable chains" The poet laments that traditional culture, music, and history
are now forgotten or devalued—regarded as distant dreams, no longer relevant. These "old songs" symbolize ancestral
knowledge and community spirit, which have been cast aside."The old songs as disregarded dreams / Remnants of a
past" The consequences of cultural change extend to social structures. The bonds that once connected people—family,
community, tradition—are weakened or destroyed. The final image is haunting. The destruction of the past is
irreversible—its remnants ("ashes") are scattered in the "bottomless sea," symbolizing a loss too deep to retrieve. The
fish swimming by represent new generations or outsiders, indifferent to the cultural loss, yet cautious not to disturb the
submerged past—perhaps a metaphor for how some avoid confronting uncomfortable histories. "The ashes strewn
into the bottomless sea / As fishes swim by / Careless of the loss / Mindful of where they dare"

In stanza two, the poet mourns this detachment, not just as a surface-level change but as a deep disinterest or even
disregard for what once held meaning. Unlike the earlier stanzas, where there is a painful, almost reluctant movement
away from the past, here the tone hardens. The new generation doesn’t resist the change — they are "careless",
showing apathy toward what their ancestors valued. The loss is no longer a tragedy to them; it’s invisible,
unacknowledged. This indifference is more damaging than ignorance — it implies that the memory and reverence of
the old ways have died out entirely. The metaphor that their minds turn “only inwards” is powerful. It suggests self-
absorption, a focus on individualism over community. In contrast to traditional African societies, where identity is
deeply tied to kinship, ancestry, and collective memory, this generation seems cut off, emotionally and culturally.
They are wrapped up in themselves, like “the insides of clothes that marry the bodies of mankind” — an image that
evokes insularity, closeness, and a kind of cocooned identity, detached from external influence or legacy.

In the third stanza, the poet expresses the complete marginalization of elders in the eyes of the younger generation.
There is "no room" for them — not even in thought, not even "on the edge of their minds," which emphasizes just how
thoroughly they have been pushed aside. This is not simply physical exclusion, but a mental and emotional erasure of
the value and presence of elders in society. Elders, in many African cultures (and other traditional societies), are
symbols of wisdom, memory, and guidance. To disregard them is to reject centuries of lived experience and
knowledge. The line “their ears blocked to the old tongue” shows a deliberate refusal to listen — not just to language,
but to stories, advice, values, and customs. The "old tongue" here refers not only to literal language (possibly
indigenous languages replaced by colonial or global ones) but also to traditional worldviews and ways of being. The
phrase "ways of doing things" implies customs, rituals, and ancestral practices that have been passed down through
generations. These are no longer respected or even considered — the younger generation is choosing innovation or
foreign influence over continuity, often without understanding what is being lost.

Stanza four captures the emotional and social consequences of adopting a foreign identity—a "borrowed tongue and
culture." The people described here are not just assimilating into a new way of life; they are proudly embracing it
—"glorying" in it. But this is a superficial joy, a celebration of something that isn’t truly theirs, which is what the poet
points out through the word "borrowed." This new identity is not rooted in their history or culture. It’s adopted,
imposed, or inherited from external forces—most likely referencing the effects of colonialism, Westernization, or
globalization. It’s a false sense of progress, because it requires the abandonment of indigenous languages, traditions,
and community values.
The shift in tone is striking in this line "Every man / For himself / By himself / Of himself ". The repetition emphasizes
isolation and selfishness. It signals a breakdown of communal living, where once people were united by family, tribe,
or tradition. Now, each individual is focused on personal gain and survival, disconnected from others. These lines
echo the Western ideal of individualism, which contrasts sharply with the collectivist values of traditional African
societies. There's a tone of critique here—that this "newness" is not just foreign, but destructive to social bonds.
The emotional impact of this disconnection is felt on this line "A strange coldness descending like snow covered
mountain." Snow, especially in the African context, symbolizes something foreign, unnatural, and emotionally cold.
The “coldness” suggests a loss of warmth, familiarity, and human connection—it’s the emotional result of turning
away from one's roots and embracing something that doesn’t nourish the soul."Or like bathing at the back of the house
/ On a rainy July day" This image evokes a deep sense of discomfort and vulnerability. Bathing outside in cold rain is
not just physically uncomfortable; it carries a feeling of exposure and helplessness, like being stripped of dignity. It's a
metaphor for the uneasy fit of the adopted culture—it doesn’t suit the people, even if they pretend to enjoy it.

In the last lines, "The gusts of wind falling trees / Carting roofs away / Tugging skirts / And swirling debris in the air",
the poet uses violent and chaotic imagery to describe the destructive effects of cultural disintegration. The wind
represents the force of change—powerful, unpredictable, and unsettling. It uproots trees (symbols of stability and
heritage), blows off roofs (symbolizing broken homes or shelter), and exposes people (tugging skirts). The debris
swirling in the air suggests confusion, disarray, and the loss of control over one's cultural environment.

In the last stanza, the use of “borrowed shoes” continues the poem’s motif of adopted foreignness—they are dancing,
yes, but not in shoes of their own making. This implies that the people are moving, progressing, or celebrating, but in
something that doesn’t truly belong to them. It symbolizes how they are living out borrowed values, customs, and
lifestyles, possibly Western or colonial in nature. The dance may look graceful, but it’s hollow—it’s performance
without authenticity.

There is a deeply symbolic and biblical allusion in this line "their borrowed minds parted the Red Sea long ago". In
the Bible, the parting of the Red Sea represents deliverance or liberation. But here, Kamara uses it ironically
—“borrowed minds” (minds no longer thinking independently or rooted in original culture) parted the Red Sea long
ago, meaning they already crossed the line of no return. It suggests they’ve mentally and spiritually left behind their
origins. There’s a sense that the transformation isn’t recent—it’s been long completed, and the journey away from
their cultural roots was not accidental, but chosen. One of the most powerful images in the stanza was found in line
3"they hang the last lock on their culture…". Hanging “the last lock” suggests a final act of sealing off their heritage,
locking it away as something no longer needed or even wanted. Culture here is treated like something to be locked up
and forgotten, perhaps like an old house, a museum relic, or a memory too painful or inconvenient to keep alive. It
marks the end of connection to the past. This closing imagery is graceful on the surface, but deeply unsettling in
meaning. "And glide into the future / Without a backward glance." “Glide” suggests smoothness, effortlessness—but it
also implies detachment, a lack of resistance or reflection. They are moving into the future without hesitation or
remorse, and crucially, without looking back. There is no mourning, no acknowledgment of what’s been lost.
LESSON SEVEN: STUDIES ON CHARACTER TYPES: ROUND CHARACTERS, FLAT CHARACTER,
FOIL. CREATIVE WRITING (POEMS AND SHORT STORIES)

Specific Objectives: By the end of the lesson, the students should be able to;
1. Define characters.
2. Differentiate between the foil character and flat character.
3. Create stories using the different types of characters.

STUDIES ON CHARACTER TYPES

A character study is the analysis of the characteristics of an individual, typically a character from a piece of literature.
Character studies often explore archetypes, such as brave heroes and cruel villains.

Types of Characters

1. Antagonist: In writing, an antagonist is defined as the character or force that opposes the protagonist. This pushback
creates conflict in the story and builds tension.
2. Protagonist: The protagonist is the character who drives the action--the character whose fate matters most. In other
words, they are often the central focus or conflict in the story. They are also usually the emotional heart of the
narrative.
3. Stock Character: Stock characters are ones who represent specific stereotypes. These characters are types and not
individuals. Stock characters are based on clichés and social prejudices. For example, the dumb blonde, the mean
stepmother, the loyal servant, the abusive boyfriend, or the evil dictator or CEO are all stock characters.
4. Deuteragonist: The deuteragonist is the secondary character, right behind the protagonist in importance. The
deuteragonist may be on the protagonist's side: for example, a love interest or sidekick. The deuteragonist can be a
villain, like the protagonist's main rival.
5. Foil: A foil is a character who is presented as a contrast to a second character so as to show the advantage of some
aspect of the second character. An Example is Harry Potter and Draco Malfoy (Harry Potter).
6. Round Character: A round character refers to a character in a fictional work with depth or a complex personality.
This character type seems lifelike to readers because they learn many details about them, such as their history,
thoughts, emotions and personality traits.
7. Static Character: A static character is a type of character who remains largely the same throughout the course of the
storyline. Their environment may change, but they retain the same personality and outlook as they had at the
beginning of the story.
8. Confidant Character: The confidant is a type of secondary character in the story, often a friend or authority figure,
whose role is to listen to the protagonist's secrets, examine their character, and advise them on their actions.
9. Tertiary Character: Tertiary characters play a minor role in the story. They're not as significant as the main or even
secondary characters, but they still serve a purpose in the narrative. These characters might only appear briefly or
might make repeated appearances, but they can still add depth and richness to the world of the novel.
10. Dynamic Character: A dynamic character is one who learns a lesson or changes as a person (either for better or for
worse). Most main characters and major characters in stories are dynamic. Dynamic characters are the opposite of
static characters.

LESSON EIGHT: THE THEMATIC SURVEY OF THE BOOK ‘ONCE UPON AN ELEPHANT’ By Bosede
Ademilua-Afolayan

Specific objectives: By the end of the lesson, the students should be able to;
1. Define the term ‘thematic survey of a book’.
2. Highlight the various themes found in the book, Once Upon an Elephant.
3. Relate the storyline to a real life experience.

THE THEMATIC SURVEY OF THE BOOK ‘ONCE UPON AN ELEPHANT’ By Bosede Ademilua-Afolayan
Bosede Ademilua-Afolayan's Once Upon an Elephant is a rich, allegorical play that explores complex themes using
the motif of animals to reflect on human society. The story was mainly inspired by Adeboye Babalola’s poem, ‘Salute
to the Elephant’ which was based on Yoruba folk narrrative about the haughty elephant and the cunning tortoise on
which Ajanaku and Serubawon were modelled as a metaphor for past and present African political leaders, tyrants and
kingmakers. Yoruba oral literature can be categorized into poetry, narratives, and theatre, although there are
occasions when the three categories merge or overlap, as in the case of Once Upon an Elephant, which combines all
three categories.

Based on th story of the Elephant of Yoruba folktale, Ajanaku (Olaniyonu) can easily be identified, while Tortoise-
figure who is also a central figure in that stoory can be seen in the person of Serubawon. In fact, the song that Iya
Agba (in her supposed state of insanity) sings, ‘Erin ka re’le o wa jo’oba, erin yeeye; erin yeeye’( All hail, Elephant,
come home to honour and be crowned!’) is taken from the Yoruba narracyive in which the smalll but clever tortoise
(Alabahun), using his wit and intelligence, lures the elephant (Ajanaku) to his death on the pretext that the other
animals plan to crown him. The play dwells on some themes, which are:

1. Power and Leadership

At the heart of the play is the elephant, a symbolic figure representing strength, authority, and leadership. The
struggles around leadership, succession, and the use (or abuse) of power mirror real-life political climates, especially
within African contexts. The play critiques those in positions of power who fail to lead with justice and fairness,
highlighting the consequences of tyranny, manipulation, and betrayal.
2. Festivals, rites and rituals
Some of the most important features of life in traditional African societies are the observance of festivals, rites and
rituals. There have been several examples in primeval Yoruba society where traditional cleansing rites are used for
individual and collective purging of ills and the purification of misdeeds in order to effect renewal and usher in a new
lease of life for the society. The Olubori and Ijedodo rites were used in the play to show people’s belief that rites
provide the return of societal peace and wellness.
3. Corruption and Moral Decay
Closely tied to the theme of power is the issue of corruption. Characters in the animal kingdom represent various
facets of society—politicians, citizens, rebels—each reflecting the pervasiveness of moral decay. The actions of the
animals often unveil selfishness, greed, and hypocrisy, suggesting how widespread corruption corrodes the societal
fabric.

Conclusion
Bosede Ademilua-Afolayan’s Once Upon an Elephant is more than a play; it is a cultural and political mirror that uses
allegory, satire, and folklore to critique society. Through the lives and conflicts of animal characters, the play urges
introspection, dialogue, and action. Its thematic depth reinforces the enduring power of African storytelling as a
vehicle for resistance, education, and transformation.

LESSON NINE: ONCE UPON AN ELEPHANT – SUMMARY AND ANALYSIS, THEMES AND
CHARACTERIZATION

SPECIFIC OBJECTIVES: By the end of the lesson, the students should be able to;
1. Explain the plot of the Drama, Once Upon an Elephant.
2. Differentiate between the main characters and the minor characters.
3. Identify the themes found in the story.

BACKGROUND OF THE PLAY

The play “Once Upon An Elephant” looks at the problems/issues associated with leadership in Nigeria and the African
society at large. Leadership is one of the major problems that has plagued Nigeria for years due to the dictatorship that
comes with it. The play shows the tendency for people wanting to take power by all means and for democracy to be
restored in a dictatorial nation, it will require the collective will and effort of sane and same minded people. The play
dramatizes the evils of dictatorial power and the intrigues, secrecy and by extension the diabolic dimensions often
associated with it. Most times all forms of dictatorship ends suddenly and abruptly, as it is depicted in the play. But
this only happened because characters like Iya Agba, Desola, Odekunle and Delani, who were tired of being hurt,
came together to resist the tyrant elephant Ajanaku on the throne.

SETTING OF THE PLAY

The play “Once Upon an Elephant” is set in an unnamed traditional African village that has a Yoruba origin. The
people in the village live simple lives with no indication of any interference of foreign culture. However, the dynamics
of the setting places the play in the Nigerian and African political context and also mirrors contemporary political
issues.

Plot Analysis
The play is written in fourteen (14) acts and no scenes. Ademilua-Afolayan’s Once Upon an Elephant opens with a
controversial plan to crown Ajanaku, the younger son of King Akinjobi, as the new ruler.The play begins in media res;
this means the story starts mid-action, rather than at the very beginning, immediately plunging the audience into the
core of the plot and leaving the back story to be revealed later. Serubawon, a manipulative and self-serving figure,
orchestrates the plot by bribing his fellow kingmakers to support Ajanaku’s ascension, despite the disapproval of
senior members of the Hunters’ Guild like Odejimi and Ogundele. They argue that Ajanaku’s rise defies tradition, as
King Akinjobi, though gravely ill, is still alive. However, Serubawon thinks otherwise. He claims King Akinjobi’s
sickness makes him unfit to rule. Odejimi insists that crowning a new king should involve collective decision-making,
not Serubawon’s unilateral actions. This sets the tone for the drama in relation to the conflict between loyalty to
tradition and the pursuit of power through questionable means.

In acts two, a romantic subplot unfolds between Odekunle, Odejimi’s son, and Desola, Serubawon’s daughter. The
two lovers meet in secret where they express joy at the prospect of formalising their relationship after the next harvest.
However, Desola shares an ominous dream about their marriage. Although she is reassured by Odekunle, the dream
foreshadows the tragedy that befalls her later in the play. The two lovebirds also discuss the political conflict between
their fathers and the danger it poses to their union.

Acts three reveals the coronation of Ajanaku at the village square in scene three. It is a grand event, filled with
festivities and self-aggrandising speech by the new king. Ajanaku’s rhetoric reveals his arrogance and his disdain for
his predecessors. He equates himself with the animal he shares the sobriquet of “Ajanaku” with – the elephant. He
portrays himself as a powerful leader who is destined to crush all opposition. The trampling feet of the elephant on
shrubs, little animals, etc which he compares his crushing power on his opposition to is in fact definitive of the
oppression and tyranny that will become the chaotic mainstays of his usurped throne. While some elders express
support, Odejimi criticises the new king’s arrogance and disrespect for his predecessors.

In Acts four, at Odejimi’s house, his wife expresses concern over her husband’s preoccupation with Ajanaku’s
selection. She advises him to focus less on the situation, but Odejimi condemns the coronation. He calls it a betrayal
of tradition. He is even more disturbed by how the people are “not seeing that things are wrong”. Iyale explains the
rationale behind the people’s indifference by alluding to Iya Agba’s proverbial explanation of the situation. In Iyale’s
words, ‘How do you want them to see it if it doesn’t affect them and make them cry? Our people don’t bother much about
things that do not threaten their peace. Nobody tells the blind that fire is burning. If he cannot see it, he will feel the heat
and smell of the smoke. When fire burns the dog, it will also burn the hunter holding the rope attached to the neck of the
dog. That is if the hunter is foolish enough to hold on to the rope as the dog burns.’ Odejimi dismisses this opinion
outright on the basis that the referenced woman is insane, a position Iyale does not share with her husband.

In acts five, Ajanaku presides over a land dispute in his palace where a man and a woman present conflicting claims.
Ajanaku’s greed leads him to appropriate the disputed land for himself. He disregards justice and fairness despite the
evidence provided. It is unmistaken at this point that Ajanaku’s reign has spiralled into tyranny. The scene takes a
dramatic turn with the arrival of Iya Agba who speaks in riddles. She references, for example in this scene and the
subsequent ones, the tale of the elephant that was tricked to his death by the allure of power. Unsettled by this
allusion, Ajanaku orders that he does not want to see her in the palace ever again, a pronouncement he makes in a
condescending way: “We must not set our royal eyes again on her”. However, as we shall find out, from this moment
onwards, Iya Agba remains a thorn in the king’s side till the end of the play. She cements her role as a central figure in
the resistance against Ajanaku’s corrupt leadership and sets the stage for his eventual downfall.

In the following acts, acts six, Iya Agba appears again to confront the king. She engages in a heated exchange with the
king. Ajanaku boasts about his conquests and demands that Iya Agba address him by his self-styled title, “Ajanaku,
conqueror of lands and forests” when the latter calls him Olaniyonu, his birthname. But Iya Agba counters with
accusations that hints at Ajanaku’s illegitimacy. She talks about Ajanaku’s complicity in the adulterer tag people have
erroneously given to her. She asks Serubawon to tell him who his father is; she does not mince words about Ajanaku
being a bastard. Her audacious revelations unsettle Ajanaku and his ally Serubawon, and for the second time in the
play, Ajanaku orders that Iya Agba be bundled out of the palace. Iya Agba emerges as a fearless truth-teller in the face
of tyranny, especially with how she exposes the questionable paternity of Ajanaku, adding that Serubawon knows who
the real father is; and that Ajanaku is “doomed to fail”, regardless of his self-aggrandisement. She also criticises
Omoyeni, Ajanaku’s wife, for leaving Delani who had worked for her father (Ajasa) to pay her bride price. She goes
further to question the legitimacy of her pregnancy now that the palace has become a breeding ground for bastards.
While her words are disregarded as the rantings of a mad woman, they no doubt unsettle Ajanaku and shake
Serubawon. In the end, Iya Agba may be many things, but madness is not one of them.

Acts seven is about the visit of the two representatives of Oguno Village to Ajanaku’s palace. The village is a
neighbouring village with kinship ties to Ajanaku’s village; the former pays tributes to the latter for protection. The
Oguno people have come to Ajanaku to seek protection from invaders who have, in the words of Man I, “taken (their)
children away”, and put “(their) people in bondage”. Odegbami tries to make Ajanaku see why they can’t afford to
turn their back on them, given Oguno’s consistent tax payments, but Ajanaku is not buying any of that. He dismisses
their plight and insists on immediate payment of inflated tributes as a condition for him to help them in their time of
need. When one of the spokesmen, Man I (later identified as Gbeleyi), protests and criticises Ajanaku’s leadership
compared to his father’s kindness, Ajanaku, in bid to drive home the point that he is not his father, describes his
father’s death in dark outrageous words that reduce his father’s legacy to a gory sight: ‘Did you know how he died? I
will tell you: first, he lost his voice, then his limb, and finally his eyes. He couldn’t move for several moons, confined
to a spot like a vegetable, gradually diminishing like salt placed where dew can touch it. After that, he became
completely lost to his ailment; decaying and smelling. No herbs could cure him. He lost every sense of time and of
ever being a human being. He was simply reduced to nothing. He may have been kind but lonely when it mattered. He
was alone and miserable. I am not my father..’

Everyone present is surprised by how Ajanaku spoke ill of his father just to prove a point. But Ajanaku does not stop
at that. It is not enough that he unrobed his late father of his garment of honour and dignity. He also asks that Man I be
stripped naked for challenging his authority. The concerned party, Gbeleyi, rather than be subjected to such
humiliation commits suicide instead by stabbing himself with a knife. Ajanaku rises promptly and is ushered in by
Serubawon and some elders. This is in congruence with the Yoruba tradition that forbids a king from seeing a dead
body. The other kingmakers discuss the recent issue afterwards. Ogundele does what an unrepentant sycophant does
with his continued support of the king’s actions while blaming the deceased for his affront. Only Odejimi sees wrong
in what the king did, and to an extent, Odegbami who tries to provide an explanation for the man’s actions which,
according to him, stem from pressure. This is how Ajanaku’s cruelty and hostility drives Gbeleyi to commit suicide;
and his greed and imposition of exorbitant taxes drive the Oguno people to further doom.

Ajanaku’s ruthlessness is just unfolding like a multi-layered onion bulb. In acts eight, Ajanaku ended up raping
Serubawon’s daughter Desola in the bush when she was with her lover Odekunle.

The summary of scenes nine to fourteen: Serubawon had told Ajanaku to sleep with six virgins in order for the
rites/rituals to be completed. The ritual of IJEDODO, a ritual rape that feeds on the blood of the virgins to keep
whoever has done it alive, while the virgins die a slow and painful death. It is later revealed that Serubawon was
Ajanaku’s real father because Serubawon had an affair with Adebisi, the second wife of the late king. It was also
Serubawon that caused the sickness of the late king (Serubawon confessed to these). Iya Agba had seen Adebisi and
Serubawon having sex, and in other to cover their abomination, they both lied against Iya Agba and she was sent out
of the palace. Iyale leads in Demoke, Odekunle carries Desola on his back while the others wait outside. Iyale comes
to ask Iya Agba for help, Desola could neither stand nor talk and the IJEDODO ritual was beginning to take effect on
her.

It was the intervention of Iya Agba that altered the situation. At the JOBELE ceremony where Ajanaku expected to
attain immortality, Iya Agba led the victims of Ajanaku to reclaim their lives from him. Desola embraced Ajanaku to
take her life back from him and Odekunle wraps a charmed red cloth around his neck which makes him weak and later
killed him. Serubawon committed suicide, he was ashamed to face his family after all the atrocities he had committed.
Omoyeni’s pregnancy belonged to Delani and they were reunited after Ajanaku’s death, and Omoyeni went into labor.
A new king was to be announced soon, and hopefully through a more democratic process.

CHARACTERS/CHARACTERIZATION
Ajanaku/Olaniyonu; He is the protagonist of the play. A tyrant king and Serubawon’s real son. He was thirsty for
power and plotted with Serubawon to make him king even though he wasn’t the first son of king Akinjiobi. He
forcefully took people’s lands and also married Omoyeni against her will. Ajanaku ended up raping his half-sister
Desola in order to complete the IJEDODO ritual. Through the help of Iya Agba, he was killed on the day he was going
to complete the ritual and become immortal.
Serubawon; An elder under the kingship of King Akinjiobi, a seer and medicine man. It was he who caused the death
of the king and also helped Ajanaku ascend the throne. He later revealed that he was the real father of Ajanaku, he had
an affair with the King’s younger wife Adebisi and they both connived to lie against Iya Agba because she had seen
them having sex. Ajanaku ended up raping his daughter Desola so Serubawon had no choice but to confess his crimes
and due to shame, he committed suicide by hanging himself on an iroko tree.
Iya Agba; The former, falsely accused and disgraced wife of King Akinjiobi. She was falsely accused by Serubawon
and Adebisi because she caught them having sex. It was she who led the victims of Ajanaku to ritually reclaim their
rights and lives from him. She was never in support of Ajanaku being crowned king.
Omoyeni; The wife to Ajanaku. She agreed to marry Ajanaku because he threatened to destroy her family if she
didn’t accept his proposal. Ajanaku also threatened to kill Delani, her lover. She later revealed to Iya Agba that Delani
was that father of her child and not Ajanaku. She went into labor at the end of the play after she and Delani got back
together.
Other characters in the play includes;
Odejimi, Ogundele & Odegbami; Elders in the village.
Iyale; Odejimi’s wife.
Odekunle; Odejimi’s son and Desola’s lover.
Desola; Serubawon’s daughter.
Demoke; Serubawon’s wife.
Delani; Omoyeni’s lover.
Yele, Lere, Dele; Odekunle’s friends.
Yosola; Desola’s friend.
King Akinjiobi; The late king.

THEMES
Dictatorship; This is seen in how Ajanaku takes over the throne. When he became the king, he refused to listen to
advice from the elders, he forcefully took over lands and always wanted to have his way in all issues. When the people
of Oguno brought a complaint before him, he refused to help simply because they did not increase the tribute, they
gave to him. He even ordered one of the men to be stripped naked but the man resisted and stabbed himself instead.
Ajanaku’s rule was very different from that of his father king Akinjiobi.
Betrayal; Serubawon, who was the trusted friend of king Akinjiobi slept with one of the king’s wives (Adebisi), and
he also ruined the king’s health which led to his death. He also plotted to have Ajanaku; his bastard son enthroned as
king even when the king had other sons.
Poor Leadership/Injustice; Ajanaku had poor leadership skills. He oppressed the land and the people in it, he caused
pain to the people. He used his power and position as king to forcefully take things from people and even threatened
them with death. Injustice is seen in how Ajanaku decided on the land case, he decided to take the land because of
how rich the land was, hereby leaving the real owners in pain.
Bribery and Corruption; The process with which Ajanaku came into power is fraught and filled with bribery and
corruption. Ajanaku and Serubawon uses gifts to bribe and induce the Guild of Hunters and elders to support him in
his quest for the throne. This shows how leadership processes in Nigeria and Africa at large has been monetized.
Internal Colonialism; When the people of Oguno came to Ajanaku to ask for help because they were being invaded
by neighboring tribes, Ajanaku treated them badly. He didn’t mind that they have been paying tributes to him, he
demanded for more tributes from them not minding their plight and he eventually refused to help them. This
highlighted the difference between king Akinjiobi’s reign and that of Ajanaku.
Other themes in the play includes;
 Rape
 Triumph of good over evil
 Adultery

STYLE AND TECHNIQUE/LITERAY DEVICES

Diction/language; The play is written in simple and transparent English. The playwright also made use of indigenous
words drawn from the Yoruba language and culture. For example; “Ajanaku” is a Yoruba word for an elephant or a
strong person. But in the play, it also serves as a metaphor for and oppressor or a dictator. “Baale” is a Yoruba
word/expression which means “my husband or my lord”. The expression was used by Iyale to refer to Odejimi her
husband.
Foreshadowing; This is when an event is revealed to the reader earlier in the novel, and the event comes to pass later
in the novel.
When Ogundele (a hunter) was invited by Serubawon to the secret meeting, he said “….until we know why
Serubawon suddenly wants our values twisted, we are clutching at nothing” (pg. 19). These words foreshadow the
revelation later in the play by Iya Agba that Ajanaku was Serubawon’s son.
The Use of Innuendo; Innuendo is an indirect and usually a malicious implication.
Iya Agba uses innuendo to speak most times throughout the play. An instance was when Ajanaku called her mad and
she replied saying that “the lizard may resemble a crocodile, but they are certainly different” (pg. 36). This innuendo
referred to Ajanaku and it meant that he was not the biological son of Akinjiobi, and therefore not fit to be king.
Dramatic Irony; Dramatic irony refers to when a situation or event is known/understood by the audience but not by
the character. An instance was when Ajanaku was boasting that he was responsible for Omoyeni’s pregnancy but the
audience actually knew that the child belonged to Delani.
Situational Irony; Situational irony refers to when the outcome of a situation or event is different from what is
expected. An instance was when Serubawon wickedness turns around to hurt him and his family, which led to the rape
of his daughter Desola, and his eventual suicide. Also, the same applied to Ajanaku, because he also lost his life at the
end of the play.
Others techniques used in the play includes;
 Foreshadowing
 Allusion
 Suspense
 Rhetorical questions
 Madness as a motif.